>T The ornament of early Turkish art in Anatolia Ornamente der früh-türkischen Kunst Anatoliens L'Ornementation auxdébuts de I'artturcenAnatolie SELJUKS Erika Billeter [Deutscher Text: Seite 80] [Texte frangais: page 82] The conquest of Anatolia by the nomadic tribe of the Seljuks from the region of the Aral Sea began with the famous battle of Manzikert on Lake Van in 1071. The dominion of the Seljuks of Rum, however, was not to be permanent. The seizing of Baghdad by the Mongolian leader Hulagu in 1258 initiated the downfall of the Sultanate of Rum. Yet while it had lasted, it had attained a rare level of artistic and cultural achievement, reaching its greatest florescence in the first half of the thirteenth century. In these fifty years many mosques, madrasahs and caravanserais were built, and at the court of Sultan Ala eddin Ivaikobad in the capital, Konia, the arts were cultivated as intensively as in the Sicilian court of Frederick II. This was really the birth of Turkish art proper, which was to evolve from here through the years of the Osmanli empire up to its final brilliant culmination. The builders and sculptors of the Rum Seljuks gave Islamic art a new turn and thus produced work that stands out as a unique and inde pendent contribution against the general background of Islamic culture. Some of the impulses here imparted to this culture were in fact intrinsically foreign to it. The result was in any case a local Anatolian style, a phenomenon which has not been without its parallels at other times in this part of the world. A people from the Mongolian steppes had thrust west and south, bringing with it its Central Asian heritage; had happened in its victorious advance on the Abbasid art of Persia and Syriahad discovered Armenian At the end of the eleventh century the Seljuks overran An ilia which had hitherto belonged to the Greek and Byzantine cAraitl 11 spheres. Monasteries, mosques, colleges and caravanseraikil 1 remain to give us some idea of the splendour of this first T is! i empire. Dr. Erika Billeter (text) and Dölf Preisig (photogTÈ L here deal with the ornament of this early Turkish art. Edita m Die Eroberung Kleinasiens durch die Seldschuken am .tide des 11. Jahrhunderts bedeutete den ersten mongolischen fcdrir in das bis dahin vom griechischen und byzantinischen Kulti rei: bestimmte Anatolien. Klöster, Moscheen, Medressen und.titf wansereien künden uns noch heute vom Ruhm dieses iteri' türkischen Reiches. Dr. Erika Billeter (Text) und Dolf Iisif (Bild), die in Graphis 128 über das armenische Anatoli-'be richtet haben, gehen in diesem Artikel den Ornamenten ,iset frühen türkischen Kunst nach. Redaktion I Jfcl La conquête de l'Asie Mineure par les Seldjoukides, a la di -o Xle siècle, met fin a l'orientation gréco-byzantine de l'An >lie Des mosquées, des médressés, des caravansérails viennentjou; t rappeler la grandeur passée de ce premier royaume turc. Aprè^or présenté un tableau de l'Anatolie arménienne (Graphis ij, 1 Dr Erika Billeter (texte) et Dölf Preisig (photographie) noifaa r connaitre l'aspect ornemental de ce premier art turc. Rêdactu I 7^ 1) Detail of the fa$ade of the Ulu Cami in Divrigi with its stone >r built in 1228/29. This represents the 'flamboyant' phase of Selji ut. 2) No other Seljuk mosque is as richly decorated as that of Divri whole range of ornamental patterns is represented here. 1) Detail von der Fassade der Ulu Cami von Divrigi mit dem sterniet Prunktor - das »Flamboyant« der seldschukischen Kunst, 1228-1229 pau 2) Keine der seldschukischen Moscheen weist so reichen Schmuck wf Divrigi. Hier lasst sich der ganze Motivenschatz dieser Kunst ables 1) Détail de la facade de l'Ulu Djami de Divrik.Somptueux portail dtjero construit en 1228-1229, dans le style «flamboyant» de l'art seldjouki. 2) De toutes les mosquées seldjoukides, celle de Divrik est la plus ricpefi décorée. La profusion de motifs de cet art est ici pleinement mise er. leui

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